A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1979 - 563 pagine |
Dall'interno del libro
Risultati 1-3 di 67
Pagina 249
... symbol . The difference , however , between an art symbol and a genuine symbol are of great interest and importance , for they illuminate the relations that obtain between many kinds of symbols , or things that have been so called , and ...
... symbol . The difference , however , between an art symbol and a genuine symbol are of great interest and importance , for they illuminate the relations that obtain between many kinds of symbols , or things that have been so called , and ...
Pagina 250
... symbols has led semanticists to regard these uses as the defining properties of symbols - that is , to think of a symbol as essentially a sign which stands for something else and is used to represent that thing in discourse . This ...
... symbols has led semanticists to regard these uses as the defining properties of symbols - that is , to think of a symbol as essentially a sign which stands for something else and is used to represent that thing in discourse . This ...
Pagina 252
... Symbol is a single , indivisible symbol , and its import is never compounded of contributive cargoes of import , what shall we make of the fact that many artists incorporate symbols in their works ? Is it a mistake to interpret certain ...
... Symbol is a single , indivisible symbol , and its import is never compounded of contributive cargoes of import , what shall we make of the fact that many artists incorporate symbols in their works ? Is it a mistake to interpret certain ...
Altre edizioni - Visualizza tutto
Parole e frasi comuni
A. C. Bradley abstract activity appreciation Aristotle artist artworld beauty become Bernard Bosanquet called character characteristic Clive Bell color common complete concept consciousness contemplation contextualist created creative Criticism dance defined definition Dionysian Distance dream effect elements embodiment emotion esthetic theory esthetic value estheticians Étienne Gilson example existence expression external fact feeling George Dickie Greek human ideas imagination imitation individual intuition JAAC John Dewey judgment kind language look Ludwig Wittgenstein machine material means MELVIN RADER mind modern moral Morris Weitz movement nature novel object organic painter painting perception person phantasy Philosophical physical picture play pleasure poet poetry present principle production psychology pure R. G. Collingwood reality reason relation representation Rudolf Arnheim sculpture sense shape social structure style sublime symbol taste things tion tragedy unity University Press vision visual whole word world vision York